In his book, “The New Typography”, typographer, Jan Tschichold, explains the difference between the old and new typography, which was a new idea for typography that came about in the 1920s. He explains that opposed to old typography whose goal was beauty, new typography aims for clarity. Tschichold explains that the reason for this change was that “This utmost clarity is necessary today because of the manifold claims for our attention made by the extraordinary amount of print…”(Tschichold 35). When it comes to typography, one should design with clarity in mind. With a market that’s growing in competition, the goal can’t be physical beauty anymore, it had to be clarity. Something that gets straight to the point and gives what is being looked for without searching too deep. Tschihold believes it is wrong to design a text in a certain way just for the beauty of it, completely ignoring the impracticality of it. For example, the beginning of the title of a book being larger letters and the rest much smaller right underneath it. He states, “We believe it is wrong to arrange a text as if there were some focal point in the center of a line that would justify such an arrangement” (Tschichold 36). One should design with function in mind, because “It is essential to give pure and direct expression to the contents of what- ever is printed; just as in the works of technology and nature…” (Tschichold 36). One should also design with the mindset that it is up to them to study how his work ought to be read. And lastly, with an objective mind and “Above all, a fresh and original intellectual approach is needed, avoiding all standard solutions”. (Tschichold 38).

Graphic designer Karl Gerstner’s idea of how one should design came from a simple thought; “not to make creative decisions as prompted by feeling but by intellectual criteria”(Gerstner 58). He wants designers to design with a rational, systematic approach. To him, designing is a specific group of selection that leads to an exact criteria and produces a specific piece of work. Wanting to have been a chemist before a designer, Gerstner combined his art with science and created a generating system for a range of design solutions. It was ultimately a cross between science, technology, and art that prompted this idea that one should design in a logical and systematic approach rather than be guided by feelings. When speaking about the program he designed for typography it can be seen exactly how Gerstner looks at design. He states, “There are many imperfections. But it is precisely in drawing up the scheme, in striving for perfection, that the work really lies”(Gerstner 59). Gerstner believes designing is full of imperfections, but the goal of it is to follow a process that will have you in the mindset of working towards perfection.

Josef Muller-BrockMann was a graphic designer that like Karl Gerstein, believed in following a process to turn work guided by feelings into something more rational and controlled. His main goal was to achieve a universal system of communication through typography, and just like Gerstein, a big part of his process was the grid system. Muller-Brockmann believed that “the designer’s work should have the clearly intelligible, objective, functional, and aesthetic quality of mathematical thinking” (Muller-Brockmann 63); both expecting art to transcend creativity and step into more structural fields like math and science. Like Tschichold, he also believed that designers should design with clarity in mind, stating, “Work done systematically and in accordance with strict formal principles makes those demands for directness, intelligibility, and the integration of all factors that are also vital in socio political life”. This means that one should follow a strict system that allows them to deliver all demands being made, which are essentially providing a clear and direct message. Muller-Brockman thinks that “Every visual creative work is a manifestation of the character of the designer. It is a reflection of his knowledge, his ability, and his mentality” (Muller-Brockmann 63), which is why he thinks the grid system is so essential. It allows a designer to manifest his character through a process that advocates for clarity, objectivity, concentration and technicality. 

Though the ideas were expressed differently, an overlap can be found in how these designers feel one should design. The main goal should always be universal clarity. All of them are looking for designers to step out of what traditional typography started as and instead embrace the new changes technology gifts them. Gerstner’s work with design systems reveal “How much computers change— or can change— not only the procedure of the work but the work itself.” One should design through the use of design generating systems in order to put their objectivity aside and provide clarity, rationality, and a form of universal communication through their work.